Kai Perrignon

Garbage boy, film goblin, trash programmer, writer for and on the screen.

Favorite films

  • The Iron Rose
  • A Couch in New York
  • Last House on Dead End Street
  • Love Letters

Recent activity

  • Moulin Rouge!


  • Crimes of the Future


  • Section 1


  • Ornamental Hairpin


Recent reviews

  • The Black Phone

    The Black Phone


    Chock full of honest adolescent violence but builds to easy catharsis that undermines the queasy power of teenagers’ bloodied faces. Derrickson and Cargill bay around ideas re premonition, malevolent ritual, and guidance from forces beyond (especially from the annoying precocious swearing sister who is barely relevant) in service of trite self-actualisation. Only one bringing a real sense of weird and off-putting is Jeremy Davies, who sells mountains of cliche pain with his always musical line readings.

  • Last Tango in Paris

    Last Tango in Paris


    God Brando in a spiral of destructive self-pity, pathetic as a man has ever been onscreen without losing his imposing stature, his charisma, his frightening spontaneity. Bertolucci never finds a better image than the many Brando silhouette profiles, a statue in violent mourning. But the movie surrounding can’t support the weight of the performance. Schneider’s character is just an object for Brando to throw around and Leaud to gaze upon, the idea of woman beaten down and trapped by men…

Popular reviews

  • Churchill



    This movie ends with a title card informing the audience who won World War 2.

  • The Nightingale

    The Nightingale

    Felt like my eyes were trying rattle out of my skull, like the worst, most performatively woke twitter feed was pulling me into the abyss with its fingers in my nostrils. 

    Suggests that a single woman's assault and loss (and of course - as fellow lboxd user Lucinda pointed out to me after the film - goes out of its way to suggest her lost agency is perhaps more tied into her proto nuclear family than her rape) is equivalent…